I don’t think time has anything to do with it, you could play the longest song from each album and have a decent length evening-with set (which I assume this will be anyway). Plus many of the songs that were excluded aren’t really that long. I think it really just comes down to there being songs that they don’t want to play/learn.
They have over a year and they’re professional musicians. They’re capable of playing anything in their catalog with a few weeks rehearsal I’m sure.
While I’m not thrilled that Mikael is limiting the song choices to just a few per album, almost every album includes a song option or two that is not normally played. Obviously, I voted for all of these deep cuts, including Apostle, BRI, Karma, Blackwater Park, Master’s, Whispered, and Mire.
I’m hoping that most of the deep cuts are played, as Opeth seems to be a band with few casual fans who would vote for the “hits.”
Opeth pretty much became a different band for me starting with Heritage, with Watershed being very transitional. Their newer stuff is solid but it lacks the magic of the growly, dynamic era. Pale Communion is the best of the newer albums, although I’d rather listen to any of the growly records over it. Since Ghost Reveries I feel like there have been very few exceptional moments.
At first I wanted to vote for all the deep cuts as well, but then I realised I also want it to be fun - I love White Cluster (The Pink Panther Theme and Dream Theater for the win!), but there's just something awesome about The Moor - in particular it's the "spidery" riff under the verse - that made me vote for it instead. I toyed with the idea of voting for Funeral Portrait, but then I realised that if I was there, I'd much rather see them play Blackwater Park and so on. But I understand where you're coming from.
I mean, even with the overplayed songs - they're still great. Each and every one of them. Except maybe Cusp of Eternity, but I'll get to that in the possible future Survivor.
I get what you mean - yes, the feels are different now. But honestly, they were different even then. What I mean is that - although some of you might disagree - they were always evolving, for better or worse and no two albums of theirs are really alike. And there are people on this forum (and I know, I collected and copied the posts) that were saying that already on Deliverance they were tired of the death metal paradigm (I don't agree at all, but still - it is a valid opinion). Already on Harlequin Forest they were trying to recreate (and in a superb way, may I add) the outro to Deliverance, with slightly different feels and attitude, but still counting on it being the answer to the previous song. I wonder how many "true" "golden-era" albums they could put out even if they decided to do so. So although I'm usually sad that any given band leaves its place where I found and loved them, I don't have it like that with them. I mean, the great metal albums are still great, they won't retract anything off them. And even in the NewPeth era I actually find the albums diverse and unique in their own way. Leaving the game, or actually changing the rules while they were still ahead is a cool thing to do, methinks. I love Watershed and Heritage very dearly (travesty - I actually put both on more often than Damnation or any of the first 3 albums) and although the emotions and sentiments and excitement are all different, it doesn't mean it's worse. I liked ICV a lot and its "Jazzy Sabbath" approach excites me. In a different way than the build-up in BWP, or the outro to Deliverance or the sick riff in Melinda, but it excites me nonetheless.
To me there's no real magic lost. They might've lost some of the energy or even originality, but they're still immediately identifiable and I enjoy all 13 albums to the highest degree. That's one of the reasons why they crawled up to my #1 spot over the past 5 years.
The first three albums are definitely an acquired taste. I love Orchid, but Morningrise and MAYH feel far weaker than most of the discography (though I feel the same way about Heritage and Sorceress).Big fan of Opeth, though only really listen/get into albums from Still Life onwards. And I like the "post-growl" era *nearly* (very close) as much as prior, with Pale Communion probably a favourite (though In Cauda Venenum a very close next).
Blackwater Park, Ghost Reveries and Watershed are all top albums, hard to fault much in them.
Getting exposed to Orchid a lot right now thanks to @Forostar's nomination in the GMAC (shameless plug), it's...it's got really cool music, but I have a really hard time staying invested in it. Probably going to listen to more post-growl Opeth one of these days.I love Orchid
I totally get that. I have a really hard time staying invested in the following two albums (Morningrise and My Arms, Your Hearse), but for some reason Orchid is just pure autumnal faux-Satanic bliss for me. It has so much atmosphere. Definitely not my favorite songs by Opeth, but the album works so well as a spooky mood piece.